"What I should have done is two things," he explains. "First, commit to making a stripped-down horror game. My original pitch was that you'd play a former Little Sister, in an underpowered return to Rapture, full of fertile trauma that would be uncovered as you went. Very Silent Hill. But I was told – I don't even remember by who, it could have just been Marketing Person X – 'We think BioShock can be a big shooter franchise like Gears of War or Call of Duty.' And I thought, 'Good Lord... Why did you hire me?' So the second thing I should have done is learn to say no.
"But this was a life-changing moment – somehow, someone had identified me for this job. So in order to say yes, I had to create a Mr Hyde who was willing to also say, out loud, 'Absolutely. This is going to be a 2.0, and we're going to improve on the original.' But who knows what the other guy, the version of me which had existed just minutes prior to being offered that job, would have said about the necessity of sequels at all."
"After BioShock 2, my world view had been utterly shaken," he says. "My career and sense of self were altered forever by working on it. I wasn't soured on triple-A immediately after, but I had a blasted hellscape in my wake in regards to my personal life. I barely recognise the memory of the guy I was when that game was finished.
Sunday, September 18, 2016
"BioShock’s Jordan Thomas Discusses the Acclaimed Trilogy"